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5.
Transmedia Storytelling: My Definitionn Project exists in more than one medium (usually more than 2)n Typically includes both digital and traditional median Often includes live eventsn Is at least partially interactiven Each story component expands the core narrativen All components are tightly integratedn Ideally, designed from ground up to be transmedia

6.
Idea Seems New, But an Ancient Concept Egypt As Example:Employed Architecture, Painting, Sculpture, Hieroglyphics to Tell A Single Story

8.
Transmedia Hugely Popular Now, But Why? n For creators: can promote products; can extend an entertainment property with new assets; can be lucrative n For audiences: rich, fascinating stories, can “live” in fictional world, can participate in it

10.
Usually Built AroundA Solid Primary Fulcrum n Fulcrum: the supporting element n Can be a media property, a character, a location n Central to the project n Capable of supporting its various components n Holds story pieces together n Keeps the work in balance

11.
Story Pieces Tightly Integratedn Each media component expands the same core storyn Each media component is consistent with core story (the canon)

12.
Best When Entire Transmedia Story Built At Same Timen Ideally,story should be built from the ground up as a work of transmedian Pieces should NOT be glued onto existing property

13.
Also, Built Around a Vibrant STORY WORLDn Story World: the fictional universe of a narrativen Deep and invitingn Unfolds in the present time, as user investigates & experiences itn Consistent across all platformsn Some big story worlds: Ø Avatar Ø Toy Story Ø Star Wars

14.
Jeff Gomez:His View of the Story World n A rich world, real or imagined n A story with a past and future n Must be populated with engaging characters n Must have something about it that makes us want to participate in it

17.
1. The “Rabbit Hole”n Rabbit hole: entrance to story… way that users find initial piece of story and initial cluesn Borrowed from Alice in Wonderlandn “Fall” into the story, escape not easy!n May be more than one

18.
2. The “Cheese Hole”n Spaces in the story that allow the audience to participate, contributen These can be forms of social media (FB, blogs, YouTube, etc.)n Audience participation in story: one of reasons transmedia is so popular

24.
My Own Experience: Toy Storyn My first project with transmedia elementsn Goal: to expand world of movie with interactive storybookn First endeavor joining Disney and Pixarn The fulcrum: the Toy Story movie

25.
The Challenge:n Not able to use Tom Hanks (Woody)n Instead, Hamm (the piggybank) would tell story (John Ratzenberger cheaper)n Challenging: telling this story from POV of a piggybank!!

26.
A BIGGER Challenge:Meaningful Interactivity n Pixar’s view: should be a series of games and activities n Disney’s view: a unified story the child could control n Showdown: a game of checkers (Pixar) n Solution organic: players put toys away before humans come

27.
Not Only Hollywood!Malaysia Also Creating Transmedia Stories n Example: Saladin n Based on true story of Islamic hero in 12th century n Produced by Multimedia Development Corporation n Components: TV series, comics, games, mobile app, feature film

29.
Example:The Due Return n Focal medium: life sized ship with 3 decks n Storyworld: revolves around intergalactic space ship, has traveled through space & time, docked in strange land n Crew: scientists, explorers n Created in Santa Fe by an artists’ collective

30.
Interactivity and the Due Returnn Experiments and other artifacts you could examinen Ship’s interactive control roomn Other media: ship’s archives (on Web); mobile app to interact with ship; live events

31.
Roswell Project:Another Unusual Approach n Being produced in little town: Roswell, New Mexico n Low in budget n High in creativity

41.
Now, a Closer Look at One of the Most Robust And Purest Forms Of Transmedia Storytelling The ARG(Alternate Reality Game)…

42.
ARGs: What They Are: n Experiences that contain well-developed storyline and gaming elements n Story broken into tiny fragments over multiple media n Users have to piece fragments together to understand it n Played out in real time n Often incorporate live events n Story unfolds as players solve puzzles

43.
“This is Not a Game!”n Fans’ motto for these gamesn Say that because goal is that they should feel like real lifen Never announced or promoted (viral marketing)n Other term: unfiction

44.
Great definition:(from Transmedia Conference at USC) “It’s like digging through sand to find shards of pottery…

45.
Definition, continued….… and if you find enough shards, you can reconstruct the entire pot.”

46.
The First: The Beast n To promote movie AI (Artificial Intelligence) n Sci-fi story based loosely on film – murder; sentient robots n Debuted in 2001 as stealth marketing endeavor – created at Microsoft n Still a model for the genre n Rich story, rich puzzle solving

47.
Important Convention: Both Story And Gamen But not pure form of eithern Not pure narrative because story broken into tiny fragmentsn Story also dependent on solving puzzles (like chemistry puzzle here)n But not pure game, either: no victory conditions, no rules, no prizes

59.
Work BestWhen Approach Is Organic n Components grow out of fulcrum naturally n Not forced

60.
And Finally… Transmedia Projects Need A Clear Unified Visionn Creators need to agree on what they want to achieven Creators must work together to create components and make sure they are consistent